Category Archives: gallery

Marcus Geiger > Margaret Welsh

Jan 30th – Mar 7th 2015

Reception > 1.30.15 > 5-8pm

Reception > 1.30.15 > 5-8pm

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Right Where I Want You, 2015 (Welsh)

Right Where I Want You, 2015 (Welsh)

Into Thin Air, 2015 (Welsh)

Into Thin Air, 2015 (Welsh)

Cloud Boxing, 2014 (Welsh)

Cloud Boxing, 2014 (Welsh)

Time Has Got Nothing to Do With It, 2014 (Welsh)

Time Has Got Nothing to Do With It, 2014 (Welsh)

Lost Inside You, 2014 (Welsh)

Lost Inside You, 2014 (Welsh)

Standoff, 2014 (Welsh)

Standoff, 2014 (Welsh)


Document is pleased to present Geiger/Welsh a selection of works by Marcus Geiger (Vienna) and Margaret Welsh (Chicago). The exhibition is the first in a planned series of exhibitions (organized by Michael Hall and Aron Gent) inviting both local and international artists to work on an exhibition and collaborate with the production side and services that Document offers.

The main Geiger work on view is a sculpture that functions somewhere between a model and physical architecture. Six identical 4’ x 8’ panels that can be assembled and re-assembled into various objects or buildings, originally the object was designed in the 90’s to present smaller works, something between a shelf and a wall.

Geiger’s approach to the gallery space is more understandable when you learn that he studied stage design (1978-82) at the Academy of Fine Arts in Vienna where his classmates were Peter Kogler and Heimo Zobernig and he has often collaborated with Kogler and Franz West. What all these artists have in common is a particular ‘Viennese’ approach to art and design, seeing all things as equal and making no particular valuations between a painting and a chair, a carpet or a sculpture. The room itself should be used and activated, not just peered into like a canvas. Known as an “artist’s artist,” especially in today’s hyper art market, Geiger’s approach appears aloof and he is known to rarely accept general invitations to present his works at galleries or museums, questioning the value of his own artistic production and its reception.

Margaret Welsh was considered an up-and-coming Chicago artist in the late 90s receiving press for her installations and photo/video work in Artforum, Flash Art, The New York Times, New Art Examiner and many others, until she suddenly stopped producing and exhibiting. More than a decade later Welsh has started on a new series of works connecting back to the work she made before her Pop Art influenced installations. The Welsh works on view explore the physical unfolding and refolding of paper shopping bags, creating readymade forms that often repeat or are variations of one another. Once settling on a pair of shapes she applies layers of house paint picked up at her local home improvement center. Welsh uses Mistints and rejects from the discount paint bin, painting her found shapes with found colors to create unique object/images out of everyday discarded materials.

Welsh’s works ultimately bounce between the dualities of painting and sculpture, the expressive and the formal, the symbolic and the literal, and nonsense and meaning. The works deconstruct a structure used to safely transport our belongings (paper bags) and Welsh physically manipulates the bags to create geometric compositions out of these discarded readymades. The works offer up humility by using what the artist refers to as “oops” colors that lay unclaimed at the reject colors shelf in the paint department. However, Welsh chooses to cover the entire surface of the bags without the hint of gesture, and in doing so they retain a certain boldness as the works float on the gallery walls.

Marcus Geiger (b. 1957, Switzerland), lives and works in Vienna.

Selected Exhibitions: 2014 “Soliel Politque” Museion, Bolzano, Italy (curated by Pierre Bal-Blanc); 2013 (Solo) Wiener Art Foundation, Vienna; 2010 6th Berlin Biennale, Berlin; 2005 “Occupying Space” Haus der Kunst, Munich; 2007, Galerie Engholm (with Axel Huber), Vienna; 2003 Bawag Foundation (with Peter Kogler) Vienna; 2000 Kunstmuseum St. Gallen, CH; 2001 (Solo) Secession, Vienna; (Solo) Österreichische Galerie im Belvedere, Vienna; 2000 Manifesta 3 Biennale, Ljubljana, SL; 1998 “100 JAHRE SECESSION”, Secession; 1997 “postproduction” Generali Foundation, Vienna: (solo) Kunsthalle Bern, CH

Margaret Welsh (b. 1965 USA), lives and works in Chicago.

Selected Exhibitions: (1994-2000) LISTE 99, Basel; (Solo) 1998 Chicago Project Room; (Solo) 1998 PPOW, (Solo) New York; 1997 Chicago Project Room; Ten-in-One Gallery, Chicago; Gallery 400, Chicago; N.A.M.E. Gallery, Chicago.

Exhibition Brochure Link

Sara Magenheimer > Soap Opera Pop Music

Dec 12th – Jan 24th 2014

Reception > 12.12.14 > 5-8pm

Reception > 12.12.14 > 5-8pm

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The Rhythm of Plain White Pt. 1, 2014 (7 min. HD video)

The Rhythm of Plain White Pt. 1, 2014 (7 min. HD video)

The Rhythm of Plain White Pt. 1, 2014 (7 min. HD video)

The Rhythm of Plain White Pt. 1, 2014 (7 min. HD video)

ADD A MARK, 2014 (Collaged Archival Pigment Prints Mounted to Dibond, 32”x48” Unique)

ADD A MARK, 2014 (Collaged Archival Pigment Prints Mounted to Dibond, 32”x48” Unique)

Your name stays the same objects around you change, 2014 (Collaged Archival Pigment Prints Mounted to Dibond, 32”x48” Unique)

Your name stays the same objects around you change, 2014 (Collaged Archival Pigment Prints Mounted to Dibond, 32”x48” Unique)

Oooo!, 2014 (Collaged Archival Pigment Prints Mounted to Dibond, 31”x48” Unique)

Oooo!, 2014 (Collaged Archival Pigment Prints Mounted to Dibond, 31”x48” Unique)

Document is pleased to present “Soap Opera Pop Music”, a selection of image and text based works by New York based artist Sara Magenheimer.

A particular confluence from earlier this year:

I was reading Blaise Cendrars’ poems. I wrote a poem for each of the titles in his poem “16. Titles.”

I was reading Michael McClure’s poems – I Iike his performative linguistic physicality, both sonically and graphically.

I was introduced to a letterpress. Each piece of lead type was a sculptural form dictated by the letter, punctuation mark or dingbat it depicted. Arranging them on a surface created a landscape of text.

I was shooting video and still photos of object arrangements in my studio, rocks that I’d collected and painted different colors, sponges, earplugs, display hands, and ceramics.

I visited Brancusi’s studio in Paris. Encased in glass, it felt like a sort of diorama in a natural history museum. I saw his photographic equipment alongside his sculptural works, in multiple, and thought about representation, repetition of form, and objects’ performative qualities before a camera lens.

My studio evolved into a set in which an actor, objects, and photographs performed for the camera. The text I was writing turned into letterpress arrangements, turned into collages with photographs.

A relationship to an oblique narrative runs through my work; references to things outside of the work connect to an unknown social or cultural context. The work accesses narrative potential and emotional energy in a constant vacillation between specific references (Chris Montez, an earplug, a hand) and ambiguity (ADD A MARK, an abstract blob of clay), functionality (a period acts like a period) and abstraction (a period is a circle, a dot, a shape, the sound “ooo”.)

It’s said that Cendrars’ work evoked photographic impressions, cinematic effects of montage and rapidly changing imagery, while McClure famously performed a reading of his work for caged lions at the SF Zoo. In my work, words are always the shape of the letters that comprise them, the sound of their articulation, as well as what they mean. Sound is always a vibration of molecules, as well as a catalyst for emotion when organized into a melody. The physical embodiment of linguistic utterance as performed by material is at play.

Sara Magenheimer is an artist based in upstate NY. Recent exhibitions include Chapter NY, 247365 Gallery, Cleopatra’s, NY. Recent screenings include The New York Film Festival, The Kitchen, New York; Brooklyn Academy of Music, Brooklyn, NY; The Cave, Detroit, MI; SiteWork, Chapel Hill, NC; MOMA, Portland, OR; The Living Art Museum, Reykjavik, Iceland; and Meet Factory, Prague, Czech Republic. Since 2012 she has performed at Recess, MOMA P.S.1, Issue Project Room, Canada Gallery, and the Performa 13 Biennial. Her collaborative project, Bloopers, received commissions from Triple Canopy and EMPAC, at Rensselaer Polytechnic Institute. She was named one of Blouin Art Info and Modern Painters Top 25 Artists to Watch in 2014, and was the recipient of a 2014 Rema Hort Mann Foundation Emerging Artist Grant.

Exhibition Brochure Link

Greg Stimac > Middle Gray

Oct 24th – Dec 6th 2014

Reception > 10.24.14 > 5-8 pm

Reception > 10.24.14 > 5-8 pm

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Sierra Nevada(I-80 West), 2014 (13.25

Sierra Nevada(I-80 West), 2014 (13.25" H x 17.5" W) Selenium Toned Silver Gelatin Print

North Coast, 2014 (12.25

North Coast, 2014 (12.25" H x 16.75" W) Selenium Toned Silver Gelatin Print

MountLee(Hollywood), 2014 ( 12.5

MountLee(Hollywood), 2014 ( 12.5" H x 17" W) Selenium Toned Silver Gelatin Print

Salt Flats, 2014 (12.5

Salt Flats, 2014 (12.5" H x 16.75" W) Selenium Toned Silver Gelatin Print

Pacific, 2014 (12.25

Pacific, 2014 (12.25" H x 16.25" W) Selenium Toned Silver Gelatin Print

Hasting Cutoff(Fort Bridger), 2014 (12

Hasting Cutoff(Fort Bridger), 2014 (12" H x 16.75" W) Selenium Toned Silver Gelatin Print

Great Divide(East), 2014 ( 6

Great Divide(East), 2014 ( 6" H x 17.75 W) Selenium Toned Silver Gelatin Print

Great Divide(West), 2014 (6

Great Divide(West), 2014 (6" H x 17.75" W) Selenium Toned Silver Gelatin Print

Stock #1, 2014 (23.25

Stock #1, 2014 (23.25" H x 5" W x 1.5" D)

Stock #2, 2014 (23.5

Stock #2, 2014 (23.5" H x 5.25" W x 1.75" D)

Stock #3, 2014 (21.25

Stock #3, 2014 (21.25" H x 5.5" W x 1.5" D)

Stock #4, 2014 (23.25

Stock #4, 2014 (23.25" H x 5.25" W x 1.75" D)

Stock #5, 2014 (24

Stock #5, 2014 (24"H x 5.5"W x 1.75"D)

Document is pleased to present Middle Gray, a selection of eight black and white silver gelatin photograms and five wooden sculptures by California-based artist Greg Stimac. Together, the works in Middle Gray examine the firearm craftsmanship of the early American West and the traditions of capturing the frontier in photographs.

To craft the photographic works, Stimac uses Google Street View to re-construct locations in the darkroom by way of cut cardboard layers and “burning and dodging” techniques. In utilizing this process, Stimac is able to represent almost any landscape, vantage point, and time of day, while presenting deceptive trompe l’oeil representations through the traces of rough edges and all too-perfect gradients. In Great Divide (East) and Great Divide (West) Stimac simply reverses his cardboard “negative,” looking west into a sunset in one and east at pre-dawn in the other– perhaps suggesting a glance back after a slow night’s journey.

Stimac brings into focus the intensity of being sublimated by the sublime landscape. The photograms which contain bright or dark horizon lines remind us that we don’t have the entire picture or context for this image. We become engulfed in the direction we look, spurring an anxiety that we have been dropped off in a landscape where the foreground is unclear— a quiet, unconquered territory. Presented a virgin space devoid of contemporary landmarks we become hopeful that we are heading west towards the unmanifested coast and out of the valley, which confines our visual window.

Perhaps neutered weapons prepared for our imaginary journey, the sculptures in this exhibition originate from black walnut gun stocks, stacked, reduced, and shifted from their intended use. They cannibalize one another, muting themselves into stoic representations that destabilize their steadying function for a marksman. Stimac scavenged the hardwood butts from a Northern California gunstock manufacturer and used them to heat a cabin during the time he produced this work. In that isolated setting, Stimac found himself attracted to the hardwood materials he discovered and the ways they aesthetically rhyme with land and flesh. Standing in as darkened landmarks, they caution the limitations and dangers of traversing the wilderness. These forms appear as abstracted bodies and inverted vertical horizons, echoed in the silhouettes of the photogram ridge lines. These shapes, conceived of across the sea, are again used to form the territory of the American West.

GREG STIMAC (American, b. 1976) lives and works in California. He received his B.F.A. from Columbia College Chicago in 2005 and his M.F.A. from Stanford University in 2013. Past exhibitions include Worlds Away: New Suburban Landscapes, which began at The Walker Museum of Art, Minneapolis and traveled to the Carnegie Museum of Art, Pittsburgh and USA Today, at the Museum of Contemporary Art, Chicago, an exhibition of works from their permanent collection. His most recent group exhibitions include Phantoms in the Dirt at the Museum for Contemporary Photography, Chicago (2014) and The 7 Borders at the Kentucky Museum of Art and Craft (2013). Stimac has had solo exhibitions at The Museum of Contemporary Art, Chicago and White Flag Projects in St. Louis, Missouri, 2010. His work is in the permanent collections of the Museum of Contemporary Art, Chicago; Museum of Contemporary Photography, Chicago; UBS, Chicago; the Wieland Collection, Atlanta; and the Ruttenberg Collection, Chicago, among others.

Exhibition Brochure Link